© Rosa Frank
Bruckner’s Te Deum, Chicago Symphony Orchestra, Riccardo Muti
“The tenor gets most of the duties here and Steve Davislim assayed the challenging high tessitura with security, displaying a plangent tone and expressive poise.”
Chicago Classical Review, 24 June 2016, Lawrence A.Johnson
The Rake’s Progress, Finnish National Opera, Helsinki
“…Helsinki scores well…with the assured elegance of Steve Davislim’s Tom. The tenor’s singing has ease and depth, sophistication and communicative grace. More than anybody else involved, Davislim seems to have understood that Stravinsky’s neoclassicism was just a vehicle for expressing something he passionately wanted to say.”.
Shirley Apthorp, Helsinki Financial Times March 2016
Beethoven 9, Orchester Wiener Akademie
“…Tenor Steve Davislim was elegant and secure, which is a long shot from the usual taxed-sounding, dying-swan-like efforts one gets to hear from tenors in this work”.
Forbes Magazine, Sept 2015
Turbulent Heart, Melba Recordings
“…as powerfully sure in the lower notes and as he is shining in the highest… add to this exemplary French diction and phrasing, an expressive use of rubato, a warm tone colour, a natural musicality; one finds oneself running out of superlatives”
OPÉRA (France) | February 2010 | Gérard Condé
Benjamin Britten Folksong Arrangements, Melba Recordings
“I would simply add that Davislim, Young and Melba Recordings have (remarkably) excelled themselves; this release is worth several times its weight in gold.”
Music and Vision Daily (U.K.) | 19 April 2009 | Howard Smith
Winterreise, Melba Recordings
“I found this a spell-binding and compulsive performance, forming a moving narrative which reflects the scale of emotions expected in Biedermeyer Vienna of the 1820s, and not the Vienna of Freud and Schönberg. No doubt Davislim will record Winterreise again later in his career, but this one is already worthy to be counted amongst the best. ....This youthful Winterreise is a substantial addition to Melba's growing catalogue of SACDs, and for sound, this one is so far probably the best of all.”
SA-CD.NET (UK) | 14 February 2009 | John Miller
Mozart: Die Entführung aus dem Serail, MET New York, April 2008
"Steve Davislim made a very fine house debut as Pedrillo, singing with an appealing tenor and lively stage presence. There were plenty of sparks between him and Blondchen."
The New York Times | 28 April 2008 | Vivien Schweizer
Messiah, National Symphony Orchestra
“…Steve Davislim was the night’s standout; his voice was light and richly coloured and he used it with impressive finesse.”
The Washington Post | 19 December 2008
Der Traumgörge Zemlinksy, Berlin
“Steve Davislim manages to bring charisma and intelligence to the murderously difficult role, singing with lyrical refinement and courage.”
Financial Times | 5 June 2007 | Shirley Apthrop
Idomeneo Mozart, La Scala
“Steve Davislim sang a beautifully poised and cleanly tuned Idomeneo, unfazed by the challenge of Fuor del mar."
The Telegraph | 10 December 2006 | Rupert Christiansen
Twice awarded the Queen Elizabeth II Silver Jubilee award and Australia Council scholarship, Australia’s tenor Steve Davislim is among the leading tenors of his generation. He began his musical training as a horn player, then studied voice at the VCA under Dame Joan Hammond and started his professional career as an ensemble member of the Zurich Opera. Now acclaimed throughout the world for his beautiful lyric voice, strong stage presence and remarkable agility he is in demand internationally on both concert and operatic stages.
Steve Davislim’s future engagements include recitals of Schubert’s Die Winterreise at the Adelaide Festival, Ferrando in Cosi fan tutte in Geneva, the title role in Glyndebourne’s new production of La clemenza di Tito, Die Walpurgisnacht and Elijah conducted by Thomas Hengelbrock in Paris and Zurich, Dvorak’s Stabat Mater in Berlin, The Messiah in Vienna, Beethoven’s Christus am Ölberge at the Beethoven Festival Bonn and Haydn’s Creation in Kuala Lumpur where he will both sing and conduct the Malaysian Philharmonic.
Other recent concert engagements include Beethoven 9 with the London Symphony Orchestra under Bernard Haitink, and with the Sydney Symphony, Das Lied von der Erde in Bordeaux, performances of Messiah with the Melbourne and New Zealand Symphony Orchestras, Mozart arias/Mozart Requiem and Haydn’s Creation with the Tasmanian Symphony Orchestra and Mozart Requiem with the West Australian Symphony, Szymanovski Sinfonie no.3 with the Kolner Philharmonie, Bruckner’s Te Deum with Muti and the Chicago Symphony Orchestra, and Elijah with the Gewandhaus Orchestra. Recent opera performances include Baron Kronthal/Der Wildschutz in Dresden, and Tom/The Rakes Progress for Finnish National Opera.
Engaged at the most prestigious opera theatres, he has appeared at the State Opera Berlin (Almaviva), State Opera Vienna (Tamino/ Die Zauberflöte), Hamburg Opera (Lensky/Onegin, Tom/The Rake’s Progress, and Almaviva), the Deutsche Oper Berlin (Görge in Zemlinsky's Traumgörge), Royal Opera House Covent Garden (Fenton/Falstaff), at La Scala (a much acclaimed Idomeneo under Daniel Harding, the title role in the world premiere of Teneke by Fabio Vacchi under Roberto Abbado and the role of Tamino), at the Chatelet Paris (the title role in Weber’s Oberon), Lyric Opera Chicago (Jacquino/Fidelio under Christoph von Dohnanyi ), the Met ( Pedrillo/Die Entführung aus dem Serail) ,the Semperoper Dresden ( Tom/The Rake’s Progress, and Tamino), Opera Australia in Sydney (Don Ottavio, Lensky/Onegin, David/Die Meistersinger), L'Arbore di Diana at the Liceu Barcelona and at the Montpellier Festival, Max in Der Freischütz in Baden Baden with Hengelbrock, Martinu’s Juliette at the Geneva Opera, and a Handel Opernpasticcio Armida e Rinaldo with the Balthasar-Neumann-Ensemble on tour in Germany, Hungary and Spain.
In concert Steve Davislim has performed with some of the most reputable orchestras in Europe, Australia and the US including the Australian Chamber Orchestra and the Melbourne, Sydney, and West Australian Symphony Orchestras; the Cleveland, San Francisco and Chicago Symphony Orchestras; the Royal Danish Orchestra, the Symphony Orchestras of Zurich, Vienna, Turin, Madrid, Dresden, Paris, Rome (Santa Cecilia), Brussels, Lyon; at the BBC Symphony Orchestra, London Symphony and Philharmonic and at the Barbican;Vienna Philharmonia, Berlin Philharmonic, all the radio orchestras of Germany; and also at the BBC Proms, New York Lincoln Center Festival, Mostly Mozart Festival and the Salzburg and Lucerne Festivals.
He has worked with esteemed conductors such as Riccardo Muti, Claudio Abbado, Yuri Ahronovitch, Sir Colin Davis, Rafaele Frühbeck de Burgos, Adam Fischer, Sir John Eliot Gardiner, Valery Gergiev, Michael Gielen, Nikolaus Harnoncourt, Bernard Haitink, Thomas Hengelbrock, René Jacobs, Armin Jordan, Lorin Maazel, Marc Minkowski, Sir Roger Norrington, Antonio Pappano, Michel Plasson, Sir Georg Solti, Riccardo Chailly, Marcello Viotti, Jeffery Tate, Franz Welser-Möst, Philippe Herreweghe, David Zinman and Christopher Hogwood.
Concert engagements include Beethoven’s Symphony no. 9 with Christian Thielemann in Munich, in Vienna’s Musikverein with Haselböck, also with the London Symphony, Radio France and in Australia with the Melbourne and West Australian Symphony Orchestras; a tour with John Eliot Gardiner and the London Symphony Orchestra, Elijah with the Munich Philharmonic, Mendelssohn’s Lobgesang at BBC Proms and Maggio Musicale Florence with Hogwood, and with the Gewandhaus Leipzig; Liszt’s Faust Symphony at the Tonhalle in Zürich with Alan Gilbert, Schumann’s Faust Szenen at La Scala and with Hogwood and the Gewandhaus Orchestra Leipzig; Martinu’s Julietta with the Berlin Philharmonic, Candide and a recital of Die Schöne Müllerin with Gerold Huber in Vienna’s Konzerthaus ;Haydn’s Creation with Martin Haselböck , with William Christie on tour and with the Sydney Symphony; as well as Handel’s Messiah at the Musikverein Vienna, and in Washington; Chausson’s Poeme de l’amour et de la mer with the Queensland Symphony, Schubert’s Lazarus with the Deutsche Symphony Berlin, Messiah with the New York Philharmonic, Dvorak’s Stabat Mater with the National Symphony Washington, Richard Strauss Orchestral Songs with the Hallé and Sir Mark Elder, the Italian Singer in Der Rosenkavalier with National Symphony Orchestra, Eschenbach at the Kennedy Centre, Mozart Requiem with Thielemann in Salzburg, the Dvorak Stabat Mater at the Basilique Cathedrale de Saint-Denis in Paris, A Child of Our Time with Sir Colin Davis at the Barbican London, and St. Matthew Passion in Munich and Boston with Haitink.
As an ensemble member of the Zurich Opera, his numerous roles included Almaviva/Il barbiere di Siviglia, Steersman/Der fliegende Holländer, Camille/Die lustige Witwe, Tamino/Die Zauberflöte, The Painter/Lulu under Franz Welser-Möst, Don Ottavio/Don Giovanni and Ferrando/Così fan tutte with Nikolaus Harnoncourt and Der Prinz in Heinz Holliger’s Schneewittchen.
His numerous recordings include Brahms Rinaldo (EMI) with Michel Plasson, Holliger's Schneewittchen (ECM), Beethoven's Symphony No. 9 with David Zinman (Arte Nova), Beethoven’s Christ on the Mount of Olives and Mozart’s Requiem (Opus 111), Tippett’s A Child of Our Time with Colin Davis (LSO Live), Rossini's Petite Messe Solennelle, Martin’s Le vin herbé and Haydn’s Creation (Harmonia Mundi) and Martinu’s Julietta under Charles Mackerras (Supraphon). He has made numerous recordings for the Australian label Melba, including a solo album of Richard Strauss songs with the State Orchestra of Victoria under Simone Young, Saint-Saens’ Hélène and Nuit Persane, Britten’s Folksongs and Schubert’s Winterreise, and several recordings for DGG including Handel’s Lotario and Rodelinda with Alan Curtis, Bach cantatas with Sir John Eliot Gardiner, Mozart’s Requiem under Christian Thielemann, and the tenor solo in Szymanowski’s Lied der Nacht with Pierre Boulez with the Vienna Philharmonic.
Steve Davislim is managed by Sarah Thomas: firstname.lastname@example.org
and Sarah Holloway: email@example.com
This biography is for general information purposes only and not for publication.
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